Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 245-252).

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1997. / Abstract and vita. Includes bibliographical references (leaves 76-77).

In this thesis I explore the complex nature of James Joyce's relationship with Giordano Bruno in The Day of the Rabblement, Stephen Hero, A Portrait of the Artist as a Young Man, and Ulysses. I employ an historicist methodology, and examine Joyce's encounter with Bruno in the context of the discursive environment of contemporary Roman Catholicism, specifically in relation to the triumph of Ultramontanism within the Church and the emergence and suppression of Roman Catholic Modernism. I argue that an historicist examination of this relationship provides an extremely effective means of realising some of the urgency and offensiveness of Joyce's critical engagement with contemporary Catholicism. I discuss the manner in which Joyce's encounter with Bruno's writings and legacy in the 1900s steeled him in his own struggle with Catholic orthodoxy, and I explore the significance of the heretical trace of Bruno's philosophical and cosmological writings in Joyce's novels from 1904 to 1922.

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The general theme of this thesis is Paternity and the Search for Knowledge in the works of James Joyce and Marcel Proust, specifically, in A Portrait of the Artist as a Young Man, Ulysses, and A la Recherche du Temps Perdu. Two main sets of characters are compared in the novels; the young artists, or would-be artists, Stephen and Marcel, and the older, experienced men-of-the-world who become their mentors, Bloom and Swann. Both young artists must overcome a fear of the physical world which tends to make them ineffectual dreamers, self-romanticizers. Stephen has been taught to deny the physical side of his nature by family and society. Marcel's fear of suffering and overdependence on others also has its origin in his family life. Neither young poet can create until he has been immersed in the physical experience of life, and has attained that knowledge of good and evil in himself and others which is the goal of his quest. Bloom and Swann are ‘father-figures’ in two senses; they 'educate' the young lads by initiating them into life, and they are themselves very much involved in the cycles of physical creation. Their roles are discussed in the light of various mythologies; specifically; Classical, Medieval, and Jewish. An intensive study of flower imagery in the three novels helps to elucidate further their roles as 'Earth-Fathers.' / Arts, Faculty of / English, Department of / Graduate

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This study is an examination of the beast motif associated with Stephen Dedalus in Joyce's Ulysses. The motif has its origins in Joyce's earlier novel, A Portrait of the Artist as a Young Man. In Ulysses the beast motif is related to Stephen's feelings of guilt and remorse over his mother's death and includes characterizations of Stephen as a fox, a dog, a rat, and a vampire. The motif consistently carries a negative connotation. Several literary sources for the imagery of the beast motif are apparent in Ulysses, including two plays by John Webster, a poem by Matthew Prior, medieval bestiaries, and a traditional Irish folk riddle. The study of the continuity of the beast motif in Ulysses helps to explain the complex characterization of Stephen Dedalus.

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